Carla Woodcock | On Playing the Person, Not the Part

DDW speaks to Outlander actress Carla Woodcock about character, restraint, and all things in between.

Carla Woodcock’s work is disarming. A British actor moving between television and film, she has a way of slipping past the obvious, sidestepping overstatement in favour of something cooler, sharper, and more controlled. Even in worlds built on drama, scale, or historical sweep, her performances are precise, keeping the person in focus, never just the costume.

As she joins the final season of Outlander as Amaranthus Grey, Woodcock steps into a universe with all the makings of spectacle: legacy, intensity, and a fiercely devoted audience. But her pull lies elsewhere. Rather than meeting grandeur with more grandeur, she pares things back, finding something more exacting beneath it all.

It’s a quality that runs through work as varied as A Good Girl’s Guide to Murder and the BAFTA-nominated Such Brave Girls. Across each, Woodcock brings a distinct sense of restraint to the screen — subtle, self-possessed, and all the more compelling for it.

We spoke to her about entering a story at its final chapter, returning to characters already shaped by audience expectation, and the discipline of staying present in a medium that so often rewards the opposite.

You’re stepping into the world of Outlander in its final season — a universe that already has such a devoted following. What was it like entering that world as a new character, and how did you find your place within such an established story?

It was really exciting! As it’s the last season of such an epic story so I knew it was going to be really special. Outlander has the loveliest cast and crew and they all welcomed me in with open arms. Even though I was joining the train at the last stop they made me feel like I was still part of their journey. 

Your performances often feel very emotionally grounded, even in heightened or historical settings. What is your process for finding that emotional truth within a character?

I think it’s important to understand the context of a historical drama, where it sits and what’s going on but I’m not trying to play the period or the circumstances – I’m just playing a person and for me that’s where the emotional truth comes from. I don’t go into a scene with a fixed idea of what it should be, I’d rather let it unfold naturally. I listen to my scene partner and allow whatever thoughts or reactions that come up to guide me. I don’t think that process really changes depending on the setting. Whether it’s historical or modern, I approach it in the same way.

You’re returning as Becca Bell in A Good Girl’s Guide to Murder. How does it feel to revisit a character once the audience already has a relationship with them? Does your approach shift the second time around?

I feel really lucky that the audience responded positively to my take on the character and that a lot of people, like me, see her as somewhat of a victim. Going into the second series, there was definitely a sense of comfort in knowing that so far people felt I had done her story justice but I don’t think my approach really changed because of that. If anything, it shifted more because of where we find Becca this time. She’s in quite a different place compared to the first series, so it was important to me to convey that to the audience. She’s grown a lot and is dealing with the consequences of everything that’s happened.

Many of the projects you’re involved in — from Outlander to Such Brave Girls — have very distinct tonal worlds. Do you find yourself adapting as an actor depending on the tone of the show, or is there a core instinct you always return to?

I think the core instinct for me is just staying present in the scene and letting the writing dictate the tone. I don’t try to force it too much, I think I trust that it’s already there. It probably also helps that the characters I play in shows like Outlander and Such Brave Girls are so different so moving between those worlds feels quite natural. 

Actors often speak about the moment they “unlock” a character. Was there a moment with Amaranthus Grey where you suddenly understood who she was?

I think the second block, filming episodes three and four, was a really big one for me. That’s where we see Amaranthus’ story develop, and I had a bit more time to rehearse and work on the scenes with our lovely block two director, Metin Hüseyin. We were able to talk through how we both saw her and really focus on the smaller details and nuances of the character.

I also had more time working with Charles Vandervaart and David Berry and just exist in the Outlander universe, which helped me see where my character fits in the wider story. That gave me the space to relax into it all and properly find my feet.

You’ve collaborated with some fascinating creatives, from Kat Sadler to Claire McCarthy. Is there a director or collaborator who particularly shaped the way you think about acting?

I love working with a wide variety of creatives as everyone has their own approach and their own creative vision so it’s impossible to say just one person. Acting is such a collaborative process, you cannot work alone so everyone I’ve worked with closely has probably impacted me in some way. 

With literary adaptations like A Good Girl’s Guide to Murder, fans come to the story with very clear ideas of who the characters are. How do you balance honouring that world while still making the role your own?

I read the book quite early on in the casting process and did a lot of research into my character so by the time we started filming I felt like I had a good sense of who she was and how she fits into the story. But once we were on set, I tried not to overthink any of that and just let it sit in the background so it could come through naturally. 

The main person I felt a responsibility to was Holly Jackson, because she created this incredible world and knows these characters better than but Holly was so gracious and gave us all space to make the characters feel like our own allowed me to trust my instincts.

Looking back at your earlier work — shows like Ackley Bridge or Pandora — how do you feel your approach to acting has evolved over the years?

At the start of my career I had big imposter syndrome and would get in my head quite easily. As I’ve got older and I feel more comfortable with myself I’m definitely a lot more sure what I can bring to a project. I’m still trying to let go of the idea of giving a “perfect” performance because I don’t really think that exists. It’s all subjective. What resonates with one person might not with someone else and that’s okay. 

This year seems like a pivotal one for you, with several major releases arriving close together. What kind of roles or stories are you most drawn to as you think about the next chapter of your career?

Good writing could honestly make me want to play anything! I’m usually drawn to sharp-minded women who feel multi-layered, not just one thing. I like characters that feel real. Generally though I just want to continue challenging myself. Different roles, new stories, anything that helps me grow and push myself a bit further. That’s the goal. 

Outlander premiered on the premiering on 6th March 2026 on Netflix. You can see more about Carla Woodcock here.